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Jack Knox: Public art has its perils and pitfalls, but also its pleasures – Times Colonist

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4 years ago

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Illarion Gallant cups his hands and hollers to the men in the hardhats, the ones oh-so-slowly craning his canoe sculpture into place: “You guys have got it backward!”

The artist is joking, having some fun with the crew carefully erecting his giant installation at the downtown end of the Johnson Street Bridge. It wouldn’t be the first time a boat-as-art piece had pointed the wrong way, though: New York’s Museum of Modern Art once hung Henri Matisse’s Le Bateau upside down for 47 days.

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Happily, there were no mistakes Wednesday, a relief considering the precision needed to reassemble the work known as Commerce Canoe. You know the one: it soared above Bastion Square from 2008 until last October, an aluminum boat suspended in five red-topped green reeds.

City council decided last year to move Commerce Canoe to its new home, a triangular island at the junction of Wharf, Pandora and Johnson, after staff warned that the cost to put in the interactive artwork originally envisioned for that spot — orcas re-imagined as 11 stylized surfboards — would likely blow past the $250,000 budgeted. The orca idea, already controversial, sank.

Gallant can tell you all about controversial. It comes with the territory when you create public art. Artists who are used to exhibiting only in hushed, church-like galleries would have the vapours were their works subjected to the bluntly honest, often voluble assessments of people who stumble across art in the open air.

Note that even before Commerce Canoe was installed in 2008, some balked at the idea of placing modern art in an historic square. After it was announced that Gallant had won a 20-entry competition for the commission, a letter to the Times Colonist groused: “Was it a decision based on money saved or were the other 19 submissions that bad?”

Letters to the editor are a favourite place for critics to have their say about public art, particularly when the art is paid for by the public. When Mowry Baden’s $120,000 abstract sculpture Pavilion, Rock and Shell was unveiled in front of the Save-on-Foods Memorial Centre in 2003, one wag suggested dragging it to the airport and renaming it Cessna, Rock and Fog.

Similarly, when Jay Unwin’s marble Truth and Harmony appeared outside the Victoria police station in 1996, a reader called it “that block of cement with the bare bottoms.” In 2006, a writer was aghast that a statue of Swans Hotel owner Michael Williams held a drink in its hand. Public art turns everyone into an expert in the same way the pandemic has turned us all into epidemiologists.

Sometimes, the vision for public art doesn’t meet the reality. After a 55-metre totem pole, the world’s tallest, was erected at the entrance to the Inner Harbour to mark the 1994 Commonwealth Games, Victorians were dismayed to learn that thick guy wires and steel collars were needed to hold it aloft, and that authorities mandated a flashing red light on top so that float planes didn’t smack into it.

The Globe and Mail described it thusly: “From the front steps of the Empress Hotel across the harbour, the new totem pole looks like the giant flag poles that grace Husky gas stations, minus the flag.” It was shortened in 1997, which felt like cutting the head off the Mona Lisa because it didn’t fit the frame.

People do not always treat open-air art with the reverence the artist might have hoped, either. The Inner Harbour bronze sculpture The Homecoming, featuring a little girl rushing to greet a returning sailor, occasionally pops up in tourist photos in which a woman thrusts a hand into the bronze child’s face while tilting forward so the sailor’s outstretched hand is cupping a breast. Likewise, people used to send Gallant photos of 3 a.m. drunks climbing Commerce Canoe.

He shrugs. After decades of public art — among his many Victoria-area works are the metal flowers outside Victoria International, the granite avocados outside the Hotel Grand Pacific, a sculpture high up on the outside of a 15-storey building in the 800-block of Yates Street and, overlooking Patricia Bay on the north side of the airport, a striking memorial to the 179 fliers who died while training there during the Second World War — it’s part of the package.

As for Commerce Canoe’s new home, he’s happy. He designed it with the harbour in mind, he said. The open setting by the bridge fits. “I liked it in Bastion Square, but I thought that it was cramped.”

The relocation was paid for with vendor fees collected from the Bastion Square Market. The same source will fund a welcoming pole in the square.

In some ways, showing the piece in a new setting, having it seen from a new vantage point, is like presenting it to the world all over again — and he loves seeing people run across a piece for the first time.

“You know what’s cool? Seeing people’s visceral reaction,” he says. “That’s honest. That’s authentic.” That’s the real world. That’s public art.

jknox@timescolonist.com

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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2 days ago

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September 13, 2024

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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2 weeks ago

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September 2, 2024

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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4 weeks ago

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August 18, 2024

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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